Göteborgs Konserthus Joyce DiDonato and Norwegian National Opera Orchestra

Igor Stravinsky (1882-1971) Petrushka (1911) The Shrovetide Fair Petrushka's Room The Moor's Room Towards evening: The Fair Petrushka, which is an example of Stravinsky's feeling for Russian folklore, actually comes from Stravinsky's first years as a composer. The young law student, who took private lessons in orchestration, had caught the eye of ballet impresario Diaghilev after some orchestral pieces performed back home in Russia. Djagilev was looking for something musically new and interesting. Paris critics liked the Russian ballet's inventive decor and choreography, but found the music boring. After Stravinsky's Rite of Spring, no critics wrote that anymore. But this was several years ahead, first Diaghilev lured Stravinsky to France. The ballet The Firebird was Stravinsky's definitive breakthrough and perhaps the work that made him truly believe in his chosen profession. Ballet number two, Petrushka, became as popular as the Firebird. Petrushka is about three dolls that appear in Russian markets and the music is as full of color and whimsy as you can imagine such a market could be. The amazing dancer Nijinsky played the lead role at the Théâtre du Châtelet on June 13, 1911. Over 30 years later, in 1947, Stravinsky made a new version in the United States with some adaptations, most likely because he did not have the copyright to his earlier version and had to rewrite it to generate income when the work was performed. I'm probably not alone in thinking that the music for Petrushka is among the most beautiful things Stravinsky wrote. Time and time again, the music evokes smiles. Here there are carousels, love, positivity, romance, slapstick. Close your eyes, and both scents and images come to mind.

Hector Berlioz (1803–1869) La mort de Cléopâtre (Death of Cleopatra) All roads lead to Rome, they say, but that was not the case for twenty-five-year-old Hector Berlioz. At least not with the boldly expressive work La mort de Cléopâtre. The lyrical monologue for mezzo-soprano and orchestra was written in 1829 as a competition entry for the prestigious Prix de Rome. The prize was a three-year scholarship with residence at the Villa Medici in Rome. Hector Berlioz had previously failed in the competition and wanted to impress, which probably did not make it easier for the jury to judge the music. Berlioz was often ahead of his time. La mort de Cléopâtre is a thoroughly composed work without clear movements. In the final death scene, the music's dynamism subsides and turns into a dizzyingly drawn-out death march where the strings finally descend hypnotically into a deep rumbling darkness – a precursor to the psychological intensity Berlioz would later develop in his operas. The year after the defeat with La mort de Cléopâtre, Hector Berlioz's most famous work Symphonie fantastique was first performed. In the same year he also made another attempt to win the Prix de Rome and this time it went all the way.

Maurice Ravel (1875-1937) Suite No 2 from Daphnis et Chloé It is difficult to capture this orchestral suite in a few words, which after more than 100 years strikes an audience with enormous richness of color and virtuosity. A music that is only remarkable at the time of its creation. 1913 is the year that Stravinsky's Rite of Spring is played for the first time, and Anton Webern's 6 orchestral works are performed in Vienna. Two concerts whose musical revolution was for a long time overshadowed by the scuffles that arose during the concerts. Ravel's suite was already embraced during the composer's lifetime, but its musical revolution in harmony and orchestration is no lesser. This suite, which is part of a ballet set to the Greek tale of Daphnis and Chloé, to which Diaghilev's famous dance company danced, bears all the characteristics that made Ravel's music immortal. The examples are countless, but the level of subtle genius is present already in the opening of the work, when the sun rises in the impressionistic orchestral scree. Not least listen to how this is embodied in the string section. The timbre, which is like a fund for the moving wind motifs, is in fact the sunrise's most sonorous transformation; how the strings in a slow procession during the opening bars raise the chords, from desk to desk, from section to section, and in that way - sifted through the sound of the strings - sweetly let the overtones from the strings go from the dark to the clear. Esaias Järnegard

The orchestra of the Norwegian National Opera and Ballet has a history that traces back to 1827 to Strømbergs Teater, one of the first places where opera was performed in Norway. The Norwegian Opera then opened its doors on Youngstorget in 1959. With the new opera house in Bjørvika in 2008, the orchestra got a new stage, a rehearsal hall and world-class working conditions. The symphonic concert series has been visited by talents such as Lorin Maazel, Zubin Mehta, Leif Segerstam, Alexander Lazarev, Michail Jurowski and Hartmut Haenchen. For many years, the orchestra had a fruitful musical collaboration with Rinaldo Alessandrini in, among other things, Handel and Mozart operas. You can also enjoy the Opera Orchestra's participation in recordings with soprano Eli Kristin Hanssveen and Marita Sølberg, conducted by John Helmer Fiore.

Edward Gardner is principal conductor of the London Philharmonic Orchestra and music director of the Norwegian Opera National Opera and Ballet since 2024. He was principal conductor of the Bergen Philharmonic Orchestra from 2015-2024. In his first season, Gardner has led the Norwegian Opera in The Flying Dutchman, Mahler's Symphony No. 2, Verdi's La Traviata and Janácek's The Cunning Little Vixen. With the London Philharmonic, he performs nine concerts at the Royal Festival Hall as well as a US tour culminating in Carnegie Hall and major European cities, including Vienna, Frankfurt and Hamburg. Debuts in recent seasons include the New York Philharmonic, the Philadelphia and Cleveland Orchestras, the San Francisco Symphony, the Staatskapelle Berlin Orchestra, the Rundfunk-Sinfonieorchester Berlin, and the Wiener Symphoniker. In Great Britain, he has had long-term collaborations with the City of Birmingham Symphony Orchestra and the BBC Symphony Orchestra. Gardner founded the Hallé Youth Orchestra in 2002 and regularly conducts the National Youth Orchestra in Great Britain. Born in Gloucester in 1974, he was educated at Cambridge and the Royal Academy of Music. His many honors include an Olivier Award for Outstanding Achievement in Opera (2009) and an OBE for Services to Music (2012).

American Joyce DiDonato is one of the most famous mezzo-sopranos of our time, awarded with several Grammys and the Olivier Award for her work in opera. During this season, she appears at Teatro Real Madrid and does a concert tour in Europe with pianist Craig Terry. She works closely with Yannick Nezet-Séguin and the Philadelphia Orchestra, and makes her debut with Den Norske Opera and with the London Philharmonic Orchestra. She holds the world premiere of a new song cycle by Rachel Portman, and of a specially written new work by Kevin Puts for the Bregenz Festival. Joyce DiDonato has held residencies at Carnegie Hall and London's Barbican Centre, toured extensively in the US, South America, Europe and Asia and appeared on the BBC's Last Night of the Proms. Other highlights include the Berlin Philharmonic with Sir Simon Rattle, the Orchester Révolutionnaire et Romantique with Sir John Eliot Gardiner and the Accademia Santa Cecilia Orchestra and the National Youth Orchestra USA under Sir Antonio Pappano. She began her professional career in 1998 when she was engaged by a number of major opera companies in the United States, and made her debut at La Scala in Milan in 2001.